Mombasa - African Rythm & Blues 1975

ok so you gotta check this one out -

hot hot hot -

mid 70's - spiritual, african, inspired.




Originally released in 1975 in small amounts on vanished german Spiegelei label.
In memory of Lou Blackburn, the first 100 copies limited vinyl edition include a special Mombasa art card donation. Included card is handmade by the people of Options Care Centre, a non profit organization in South Africa to help AIDS victims and abused women.

get it here at musicology


Rev. Frank Wright Quintet - Live in Moers '81

ok, so, seriously folks - we all know how few and far between frank wright recordings are. and we all know that pretty much every frank wright recording is about as good as it gets. that, combined with the fact that the frank wright albums that are actually in existence (for christ sake, for a musician of such stature, he was so poorly documented), makes us ESPECIALLY lucky that the person(s) at inconstant sol have made available a live and previously unreleased recording of mr. wrights quintet. OMG. as i write this i am listening to it again and...just download it. it is a gem. frank wright is one of a handful of modern musicians whom words do not describe. he was someone who should be listed in jazz history next to armstrong, coltrane, davis, parker, sun ra, mingus, ayler. yet amongst his contemporaries, he was the least recorded, and the few albums that do exist, are either out of print (including the reissue), hard to find, super expensive, or unheard of. dang dog.

i've yet to be more moved by any other musician. frank wright, albeit hard to say, tops my list as my favorite jazz figure of all time. and i can say that now because for years he has been so - i was maybe 21 when i bought a copy of "kevin, my dear son" at house of records in eugene, oregon. my friend jeremiah and i went back to my house (he talked himself out of buying a copy of the album cause we had only heard ESP disk's frank wright trio, which hadn't sunk in yet) and put it on, and about 30 seconds into the first song, he says to me while staring intently at the spinning record "damn dude i should've have bought this."

next i got my hands on the fractal releases of "center of the world," both volumes. wow. later jeremiah gave me a copy of church number nine and your prayer. i bought a cd copy of uhuru na umohja at amoeba in LA.

muhammed ali is on this recording. he is the late brother of the late rashied - whom i can say (rashied) goes down in my mind as one of the best live performers ive ever seen (RIP). only mccoy and pharoah survive as the living members of coltrane's ensembles. muhammed - ferocious, swinging, rumbling, finesse. beautiful.

and jean jacques avenel, on bass, whom i have never heard before this recording, is nothing short of amazing.

go to inconstant sol. get the links to this show. and jeeeez what i would do to have been there. but frank wright passed before my interest in him was sparked :(

...though he speaks to me as if we've always been in communion.

Rec. live at the 10th "Moers Festival", Moers, Germany,
on June 6, 1981 (mics recording)

Frank Wright,tenor saxophone,bass clarinet,vocal
Arthur Jones,alto saxophone
Bobby Few,piano
Jean Jacques Avenel,bass
Muhammed Ali,drums

1. Burkhard Hennen Intro (0:45)
2. Track #1 (25:29)
3. Track #2 (12:10)
4. Track #3 (28:03)

Total Time 1:06:29

DOWNLOAD VIA inconstant sol


the old school near fernhill park


know your inflorescences

as an amatuer botanist i claim that it is important to know you inflorescences. inflorescences as in flower placement on flowering plants. flowering plants as in angiosperms. check it out! plant time.

wikipedia's page on inflorescences


Armagnac Spice Cake

This is the best cake recipe in the world.

Armagnac Spice Cake

About 2 tablespoons butter for pan
3 cups white, all-purpose flour, plus some for pan
12 ozs. pitted prunes
2 cups water
1/4 cup Armagnac brandy
1 1/2 cups corn oil
2 1/4 cups sugar
5 large eggs
2 tablespoons vanilla extract
1 tablespoon baking soda
2 1/2 teaspoons ground cinnamon
1 teaspoon ground nutmeg
1 teaspoon ground allspice
1/2 teaspoon ground cardamom
1/2 teaspoon ground cloves
1 teaspoon salt
1 1/2 cups buttermilk

1. Preheat oven to 350 degrees. Butter and flour a 12-cup bundt pan.

2. Combine prunes, water, Armagnac in heavy medium saucepan. Bring to a boil, reduce to low heat, and simmer about 15 minutes, until prunes are tender. Drain prunes, reserving liquid for glaze (below). If there is more than 1/3 cup of prune liquid left, boil until reduced to 1/3 cup. Coarsely chop prunes.

3. In a large bowl, beat oil, sugar, eggs, and vanilla until well blended. In another, smaller bowl, whisk the 3 cups of flour with the other 7 dry ingredients; add to oil-sugar mixture. Add buttermilk; beat just until batter is smooth. Fold in chopped prunes. Pour into prepared bundt pan.

4. Bake on center rack in 350-degree oven until toothpick inserted near center comes out clean—about 1 hour and 5 minutes. Place on cooling rack and make glaze (below).

5. Pierce cake with a skewer 40 or more times. Slowly pour 1 1/4 cups of hot glaze over hot cake. Reserve extra glaze. Cool cake 30 minutes. Turn out onto platter and cool completely. Re-warm extra glaze and serve with cake as sauce.

10-14 servings


1/3 cup reserved prune liquid
1 1/2 cups sugar
1 1/2 sticks (6 ozs.) unsalted butter
1/2 cup Armagnac brandy
2 tablespoons light corn syrup
2 tablespoons fresh lemon juice
1 teaspoon baking soda

Combine all ingredients in a heavy saucepan deeper than you think you need. Bring to boil over medium heat, stirring. Interaction of baking soda and lemon may cause sudden, rapid over-boil if you don’t watch pot carefully; lower heat and/or remove saucepan from heat briefly if necessary. Boil 2 minutes. Skim off and discard any “skin” that may develop when reheating glaze to serve as sauce.

Bonairian Stew and Funchi

I got these recipes from some friends that used to live on the island of Bonaire in the Dutch Caribbean. These were local recipes, they go great together.

Bonairean Stew

4 medium-large onions (2 lbs. total weight)
8 large cloves garlic
1 Jalapeno chili (or substitute Serrano or other variety—milder or spicier—to taste)
6-7 large Roma tomatoes (or the equivalent—1-1 1/2 lbs. total weight)
6 medium-large Yukon Gold or other firm, waxy potatoes (3 lbs. total weight)
1 medium-size unripe papaya * (2 1/2 lb.)
1/4 cup annatto oil (see below**)
2 cups water
2 tablespoons salt (or to taste)
1 teaspoon black pepper (or to taste)
2 tablespoons sugar
Dash of nutmeg (optional)

1. Peel and quarter onions; slice coarsely. Peel garlic, trim off root nub, and mince or press. Stem chili and mince finely, including seeds; to minimize heat, discard seeds and white membrane. Core and quarter tomatoes, or halve if using small Romas; if using large tomatoes, cut in 6ths. Peel potatoes. Using 1/2-lb. potatoes, cut in 6ths: halve lengthwise, then cut in 1/3’s crosswise. (Whatever size the potatoes, make 1-1 1/2-inch chunky wedges). Quarter papaya lengthwise, scrape out seeds, peel off all green skin with a vegetable peeler, then cut into1-1 1/4-inch chunks.

2. Heat the annatto oil** on medium, add and sauté sliced onion, stirring now and then, until beginning to caramelize at edges. Add all the cut up vegetables, the water, 3/4 of the salt, pepper, and sugar, and the nutmeg. Reduce heat to medium-low and bring to a boil slowly; stir often but carefully, using a wooden spoon or heat-proof rubber spatula to prevent sticking/burning and breaking up vegetables; reduce heat to a simmer.

3. Cover and cook 10-20 minutes, or until potatoes are done through and papaya is tender and translucent. Taste and correct seasonings, adding remaining salt, pepper, sugar to taste. Serve with Funchi (see recipe).

*Papaya for cooking must be dark green (i.e., not ripe or sweet). It has a subtle, distinctive flavor. The same fruit ripe and raw is bright yellow-gold and sweet. Green papayas are available seasonally at some Asian markets (e.g., Sunrise Market in Eugene).
**Annatto seed, also called achiote, is available at Plaza Latina and some other Latino markets in Eugene. It also can be mail-ordered from spice/imported-food stores. To make annatto oil: In a medium saucepan, sauté 1/4 cup annatto seed in 1 cup corn oil on medium-low heat for 1 or 2 minutes—until seed turns a slightly darker shade of red (but not brown/black). Turn off heat and remove saucepan from burner to stop cooking. Leave for 10-15 minutes to color/flavor oil. Strain off oil and discard seeds. Makes about 1 cup.

(Antillean-style, quick-cooked, boiled corn bread*)

1 tablespoon butter, plus some to grease bowl (or substitute corn oil for vegans)
1 1/4 cups cold water
1 teaspoon salt
1 1/2 cups yellow cornmeal
2 1/4 cups boiling water

1. Butter or oil generously a wide, shallow bowl of 5-6-cup capacity; set aside.

2. In a heavy saucepan of at least 6 cups’ capacity, off heat, mix the cold water, salt, and cornmeal. Add to it slowly, stirring well, the boiling water and butter (or corn oil).

3. Place over medium-high heat and bring to an active boil, stirring constantly* with a heavy, heat-proof rubber spatula or a wooden spoon. Cook for 3 minutes, stirring; scrape down sides of pan as needed. Continue cooking 3 more minutes, now mixing really vigorously, until mixture is very stiff and pulls away from sides of pan. Remove from heat. Shake a little water from your fingertips around bottom/sides of buttered bowl.

4. Immediately turn funchi out into the buttered bowl and cover with a plate of the right diameter to just fit inside bowl. Shake funchi down well into the bowl, pressing down on plate, so it molds to the bowl-bottom’s shape. Invert onto the plate or a larger serving plate/platter and cut into wedges. Alternatively: use an ice cream scoop or ladle to shape individual servings* for each plate, and serve directly from the saucepan in which funchi cooked. Serve immediately with some extra butter on top whichever way you choose to do it..

5. Can be microwaved, covered, to reheat without any loss of texture/flavor. Leftovers also can be fried to crunchy in butter/oil.

6 servings

*Funchi was an Antillean staple, eaten in place of bread, in the days before reliable supplies of wheat flour from abroad and European-style bakeries. It remains a “down home” favorite, especially with local stews and soups. Old-school cooks, it is said, repeat in Papiamento (the lingua franca), “Un pa mi, un pa bo, un pe”, (i.e., “One [ scoop] for me, one for you, one for him”) as they stir and serve.


Pasta al Vino Rosso (Pasta in Red Wine Sauce)

Pasta al Vino Rosso

4 1/2 cups dry, somewhat fruity red wine (e.g., Beaujolais, Montepulciano, Zinfandel, Chianti Classico)

5-5 1/2 teaspoons salt

60 grinds very coarse black pepper

Scant 3/4 teaspoon chili flakes

2 tablespoons sugar (or to taste)

2 ozs. pine-nuts (6 tablespoons by measure)

2 heads garlic (more or less, depending on size: enough f/6 tablespoons, sliced, after peeling/trimming)

1 dry pint cherry tomatoes

2 lbs. fettuccine (or other pasta of choice)

1/4 cup (2 ozs./4 tablespoons) olive oil

6 teaspoons butter

1. Combine wine, salt, pepper, chili flakes, and sugar; set aside. In a dry skillet on medium-low heat, stir pine-nuts until lightly toasted, i.e., a shade darker than raw ones, with some flecks of gold. Once hot, they overcook quickly; so do not leave unattended. Remove from heat and set aside. Peel only enough garlic cloves to equal 6 tablespoons after trimming off root nubs and slicing thinly crosswise. Halve cherry tomatoes to equal about 2 rounded cups after cutting.

2. In a large pot of rapidly boiling, lightly-salted water, cook pasta half way only. It should be flexible and somewhat swelled, but still too crunchy to eat and showing more yellowish than white color. Meanwhile, the last 3 minutes pasta cooks, place a very large skillet, or a large, wide saucepan or Dutch oven over high heat. When pan is hot, add and heat olive oil.

3. When pasta is half cooked, quickly drain well and immediately add to olive oil pan. Stir and toss for 1 minute. Add garlic and the wine mixture and continue stirring or turning with tongs until almost all wine is absorbed. Meanwhile, re-warm pine-nuts for a minute or two.

4. Add cherry tomatoes and butter to pasta and continue to cook, stirring, just until tomatoes are hot through. Garnish each serving with toasted pine nuts.

6 servings

Eric Dolohy - Iron Man

dowload via singer saints

Maurice McIntyre - Humility in the Light of the Creator 1969



Ornette Coleman - Body Meta

1. Voice Poetry
2. Home Grown
3. Macho Woman
4. Fou Amour
5. European Echoes

Personnel: Ornette Coleman (alto saxophone); Charlie Ellerbee, Bern Nix (guitar); Jamaaladeen Tacuma (bass); Ronald Shannon Jackson, Denardo Coleman (drums).

Recorded at Barclay Studio, Paris, France in 1975.

this is a rhythmically dense yet funky record. not necessarily ornette's most accessible work, however one of my favorites in his "harmolodic" genre.

originally released on artists house in 1976 which is one of those cool 70's labels with a super sweet logo - i really wish i could find an image of it online to post here.

download body meta

singer saints


noah howard - the black ark

Track listing:
1. Domiabra
2. Ole Negro
3. Mount Fuji
4. Queen Anne.

Personnel: Noah Howard: alto saxophone; Arthur Doyle: tenor saxophone; Earl Cross: trumpet; Leslie Waldron: piano; Norris Jones: bass; Muhammad Ali: drums; Juma: congas.
download the black ark by noah howard here

The following text was copy/pasted from

Noah Howard - The Black Ark

By Chris May

Like "rarely performed" operas, "hard to find" recordings are often obscure for a prosaic reason: they're no good. Here's a monumental exception to the rule. The Black Ark—released in small numbers on the Freedom label in 1969, out of print almost overnight, and a holy grail for collectors practically ever since—is forty minutes of passionate and thrilling music, new-thing free jazz as great as practically any that came out of the late 1960s without saxophonist John Coltrane's name on it.

Seventeen years younger than Coltrane, alto saxophonist Noah Howard arrived in New York in 1965, aged 22. He formed a quartet, made a couple of albums for ESP, and—before moving to Europe in 1970—put together the septet which made The Black Ark. By 1969, Howard was terrifyingly good: as a player, composer and bandleader.

The four originals which make up The Black Ark—a mutant blues, a free jive samba, a cod-Japanese "ying-tong" melody and a wonderfully lyrical ballad—are catchy and hummable, at a time when most free jazz rejected tunes and structures (or was too untutored to create them). Howard brings a similar degree of form to his band: theme statements bookend each track, solos are taken individually ("Mount Fuji" contains the only section of extended collective improvisation), and the length of each player's solo is precisely pre-determined, with Howard taking the longest spots.

As an alto player, Howard is often tagged with Ornette Coleman. In fact, he sounds more like a tenor saxophonist, bringing to his smaller instrument much of the tenor's weight and booting force. He's a hefty player. The closest contemporary comparison is perhaps with tenor saxophonist Pharoah Sanders, another musician balancing ferocity with trippy melodicism, to their mutual advantage.

For unrelenting screaming banshee saxophone, the septet includes tenor player Arthur Doyle. As the original album's liner notes have it, in words that can't be bettered, Doyle is "propelled throughout by an almost incoherent rage, a chaotic and murderous sound." Howard's deft trick as leader is to keep Doyle's eruptions strictly time-constrained—a couple of choruses of sonic excess per solo, and out. Trumpeter Earl Cross, another furiously intense soloist, though a less tonally monolithic one, is similarly under manners. The result: neither player outstays his welcome and you don't have to be a smack head to enjoy them.

The rest of the band is a blast too, particularly the agile, powerhouse bassist Norris Jones and drummer Muhammad Ali (the younger brother of Coltrane's post-Elvin Jones drummer Rashied). Jimi Hendrix's Woodstock conga player, Juma, doesn't just add color, but working with Ali brings real propulsion to the music (the duo's interaction on "Mount Fuji" is a delight).

Almost forty years after its original release, undimmed by familiarity, this reissue is like a really, really late, really, really exciting birthday present.

baul musicians from india


anthony braxton - the complete arista recordings

anthony braxton's arista albums are long out of print. they are, however, for the record collector, not all that hard to find; and more often than not, not too expensive. but over the years i have watched the prices of these albums go up. every time i come across one of these albums i buy it. i have quite a few of them. and there are a lot. and they are all really really good.

mosaic records put out the whole catalog. oh-m-g.

here's a link to a magical place where you can download the box set.

charles gayle, william parker, rashied ali - touchin' on trane

the first time i heard this album was the first time i heard charles gayle. i checked it out from the eugene public library when i was about 19. i actually kept it till it was way overdue. back in those days i didn't have access to cd burning so i dubbed it to tape. when the tape wore out, i tried to buy an actual copy for myself - only to find that it had gone out of print and was now selling for 30$ or 40$ online. i would totally pay that much for a vinyl copy...but for a cd? anyway, its since been reissued, in all of its amazing 5 part glory. this is truly an amazing, beautiful recording. high energy, soulful, and free.

here's a little snippet from the label that has reissued "touchin' on trane"

"This is Charles Gayle’s most accessible work. Gayle’s mastery of free jazz is blended with a more traditional compositional style of jazz on this disc. Touchin’ on Trane is composed of five original songs, and even includes ex-Coltrane drummer Rashied Ali. As the title insists, Coltrane is the influence for the music on this disc. The influence ranges from the upbeat tempo of “Giant Steps” in “Part A,” while “Part D” is reminiscent of Coltrane’s “Live in Japan” performances. Gayle, bassist William Parker, and Ali don’t copy Coltrane, but rather expand on his accomplishments. Without covering any songs, Touchin’ on Trane is the greatest John Coltrane tribute album."

i wouldn't really say that this is gayles most "accessible" work. in fact, i would say that this album definitely not gayles most accessible work. and one thing is for sure, if we are going to compare this album to other forms of jazz, or let alone, other forms of music, that are considered accessible, than i would definitely have to say that this album is definitely not accessible.

this album does however manage to touch on the sound of john coltrane's later recordings - hence the title - a sound that is rarely attempted and/or accomplished.

touchin' on trane
charles gayle, tenor sax
william parker, bass
rashied ali, drums

originally released in 1991 on FMP

check out "touchin' on trane" here

here is a clip of gayle, parker, and ali in 2007:


william parker - petit oiseau

william parker - bass
hamid drake - drums
rob brown - alto sax
lewis barnes - trumpet

one of the most exciting jazz quartets working today. this album is amazing!



ida presti

i spent a whole summer learning this song. i never got it completely right, though i came close.

i first heard this song during one of my stays at the winberry timber sale in oregon, where i was part of a direct action campaign to stop the logging of the old growth trees there. one hot summer weekend i brought my room mate out to the sale. we climbed up into the tree sits, chatted with my friends that were living in the trees at the time, and ate dinner 150' off the ground on a platform that hung in a tree named life. after dinner he grabbed my guitar and played this song. i had no idea at the time he could even play guitar. he did pretty well, considering he was playing a childrens model guitar my dad bought in the 60's for 25$ at a hardware store in enterprise, oregon.

heitor villa-lobos was a composer from brazil. he wrote some of my favorite songs. and this one is at the top of the charts for me.

here is some old footage of ida presti playing Prelude No. 1 by Heitor Villa-Lobos. Beautiful.

Manitas De Plata

as i guitar player, i am rarely impressed by jazz guitar. even the most lyrical and talented players tend to bore me.

flamenco, on the other hand, along with delta blues, is a guitar style that really gets at what acoustic guitars can do.

Manitas de Plata


henry franklin - the skipper at home

here's a beautiful record i picked up the other day. definitely one for the fans of that 70's sound. give a listen, you wont be disappointed.


1. 'Blue Lights' (7:03)
2. 'What Was' (8:28)
3. 'Soft Spirit' (7:35)
4. 'The Magic Boy' (8:49)
5. 'Venus Fly Trap' (6:17)
6. 'Waltz For Boobuss' (3:33)

Tracks 1,3,4 by Al Hall jr.
Tracks 5,6 by David Durrah
Track 2 by Chick Corea

Bass - Henry Franklin (Nyimbo)
Drums - Ndugu (Leon Chancelor)
Guitar - Kenny Climas
Saxophone [Soprano] - Kemang Sunduza (Bill Henderson)
Saxophone [Tenor] - Charles Owens
Trombone - Al Hall, Jr.
Trumpet - Oscar Brashear (Cache)
Vocals (5) "The Sisters Happiness" - Patricia Talbert , Penny Holt (Ki Kuu) , Shirley Reid , Shirley Thornton
Piano (5,6) - David Durrah
Piano, Flute (6) - Kirk Lightsey (Thalmus)

download Henry Franklin.rar